[Cannes Review] Gimme Danger
If there is one blemish in Jim Jarmusch’s exceptional filmography, it’s his first foray into documentary: 1997’s little-seen Year of the Horse, a surprisingly i...
Giovanni Marchini Camia
[Cannes Review] It’s Only the End of the World
In the director’s statement included in the press notes to It’s Only the End of the World, Xavier Dolan says he considers his sixth feature to be his “first as ...
[Cannes Review] The Unknown Girl
In the 20 years since their breakthrough, The Promise, Jean-Pierre and Luc Dardenne have made seven features, all of which ranged from great to sublime, won two...
[Cannes Review] Personal Shopper
After Clouds of Sils Maria, Personal Shopper confirms Olivier Assayas as the director most adept at drawing the best out of Kristen Stewart. Here she follows in...
[Cannes Review] Aquarius
The staggeringly accomplished debut feature by Brazilian critic-turned-director Kleber Mendonça Filho, Neighboring Sounds, announced the arrival of a remarkable...
[Cannes Review] Paterson
In his Village Voice review of Jim Jarmusch’s criminally under-appreciated The Limits of Control, J. Hoberman described the director as “a full-blown talent er...
[Cannes Review] Neruda
Pablo Larraín is not finished wrestling with his nation’s psyche. His first three films, Tony Manero, Post Mortem, and No, formed a loose triptych that confront...
[Cannes Review] After Love
In the past, the Belgian director Joachim Lafosse made a film about a mother seeking escape from domestic hell by killing her four young children (Our Children)...
[Cannes Review] Toni Erdmann
Maren Ade has kept us waiting. It’s been seven years since her superb second feature Everyone Else premiered at the Berlinale, taking home the Jury Prize, and s...
[Cannes Review] The Handmaiden
Park Chan-wook has often iterated his conviction that vengeance is a topic ripe for infinite cinematic treatments. Following the conclusion of his trilogy dedic...
